Seven years have passed since the lives of the Keane family were shattered by an unexpected death. Existing in a fractured state where daughters are either cloistered or uncontrollable and mothers drink wine for breakfast, it is only when a new lodger comes to stay that the family are forced to confront the truths that they have tried so hard to suppress.

David Woodhead’s set was one of the best that we have seen at the Arcola, making the most out of the theatre’s unusually shaped main studio. The chamber orchestra, barely visible through the staircase that dominated the space, were never obtrusive to the action – at times we even forgot they were there, allowing us to fully immerse ourselves in the broken home to which we were witness.

The mirrors of the title, though many of them adorned the back of the stage, were an underused resource, both physically and figuratively. Much was made in the play’s opening of the father’s occupation as a maker of bespoke mirrors, yet this was not a consistent enough motif throughout the play for it to justify this introduction. We can’t help but feel that more could have been made of the outsider forcing a family to look back in on itself, or that the lack of privacy in the crowded household could have been compounded by the constant scrutiny of one’s own reflection.

Eamonn O'Dwyer’s score was where the mirroring theme really shone through, yet this subtle manipulation of chords and motifs was not always backed up by the action of the play.

At times in this production, however, it was not a lack of subtlety but a want of it that was problematic. A veteran of the musical theatre stage, Gillian Kirckpatrick in the lead role of Anna was superb; with her voice almost flawless voice and strong emotive capabilities, she is a strong enough actor for us to believe her descent into alcoholism without the need for her to be carrying a bottle at all times (although her ode to alcohol ‘Something for the Pain’ was one of the highlights of the show). Mention should also go to Jamie Muscato as bookish lodger Nathan whose naturalistic manner served the setting perfectly.

Initially, we weren’t sure what to expect from this billed ‘chamber musical’ but as a format it was a revelation, with the intimate staging allowing the production to use musical theatre to portray genuine emotional intensity and nuance, the lack of which are often the criticisms levelled at the conventional genre. As Nathan’s favourite poet writes ‘there is beauty in the breaking of things’.

A little more...

THE ARCOLA THEATRE

A short walk from both Dalston Junction and Dalston Kingsland stations, the Arcola Theatre is housed in a converted paint factory. All exposed brickwork and atmospheric lighting, it’s a unique little off-West End venue, boasting a funky bar for pre-show drinks. The theatre programmes a wide variety of work and has previously hosted acclaimed theatre-makers of the likes of Sean Holmes, Max Stafford-Clark, Frank McGuinness, Sam Shepard and Kathryn Hunter.

We recommend nearby

Tina We Salute You

A lovely little cafe with huge heart, within a few minutes' walk of the Arcola on King Henry's Walk is Tina We Salute You . With a great communal feel, which has a lot to do with its fiercely devoted (and luckily very friendly) fanbase who congregate around the venue's large communal table at peak hours, we recommend popping to Tina's for a late morning brunch or a spot of early afternoon tea and home-made cakes.

Rotorino

Dalston’s new Italian restaurant and bar has a changing menu that’s refined and incredibly tempting. Rotorino serves up innovative and classic Italian dishes in a slick and elegant space, and is a refreshing find if you’re looking for some calm and quiet away from the bustle of Dalston. Serving fresh pasta, cured British meat and Italian classics like Aubergine Parmegiana and Venison Rigatoni, their authentic cuisine is a must-try.